|
|
|
|
viewing 1 To 10 of 10 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
THROT 017LP
|
$37.50
PREORDER
RELEASE DATE: 4/10/2026
Clark's latest film score is for We Bury the Dead, the Daisy Ridley-starring feature film. Limited to 500 copies for the world on color-within-color vinyl. Stunning artwork. Set in Tasmania and offering a fresh take on the zombie genre. Clark reveals the films emotional heart with tender strings and choral recordings, whilst underpinning with glorious bass sounds that could be taken straight from recent studio album Steep Stims. Plus the occasional requisite jump scare, pin drop tension and vocal eeriness.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
THROT 015EP
|
This is the debut release from Laguna Seca, a new project from Porto based Mike Jefford. It foreshadows a new body of work, steeped in '70s nostalgia, refracted though sounds that could belong to krautrock, disco, electronica, noisy alt rock and everything in between. Named after the California raceway, this project fuses 1970s recording techniques, modern electronics and psychedelic retrofuturism. Die-cut sleeve with printed inner. This debut is released on electronic music legend Clark's Throttle Records.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
THROT 014LP
|
Double LP version. Following the skewed-unself-help-brilliance of Sus Dog (which marked his first full foray into songs, abetted by Thom Yorke), and its companion piece Cave Dog, Chris Clark returns to the dancefloor's simple, but no less affecting pleasures, with Steep Stims. Steep Stims marks a back-to-basics approach, invoking the early years of gung-ho creativity enforced by limitations in technology at the time. Made quickly, Steep Stims reflects the immediate rave energy of his live show, but that's not to say it's basic floor fodder, as it's rife with personality, synth magic, and knack for melody. Although swift and impressionistically captured rather than labored over, it's still formidably deft, with plenty of oddball weirdness lurking beneath the dancefloor. Soft, orange, scorched, brutal, the opening track "Gift and Wound" captures the classic dance music dread/awe/euphoria combo perfectly, before "Infinite Roller" merges sparkly-minimalism with snarling bass and soft sines, which turn more-dense and metallic as it progresses. The melancholic smoke belch of "No Pills U" gives strong classic vibrations, which is belied by its creation, made in just 20 minutes. Drumless, yet still full of exhilarating-big-trance-drama, "Who Booed The Goose" flashes by in stroboscopic fast forward, then "5 Millionth Cave Painting" gives a palate cleanser, letting "the virus with its delicious broken, luxurious reverb have a moment," before "Negation Loop" swoops down in all its glory, with Clark's tweaked vocals leading deconstructed trance breakdowns, tape edits and brutal noisebursts. An antidote to the bombast of its predecessor is "Micro Lyf," which closes the set on a poignant note, of sorts. Muted staccato gives way to field recordings "that gradually put it in this outside space; alien in a meadow somewhere nameless. It feels like a sinkhole. The record kinda swallows itself up and then is gone", ends Chris.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
THROT 014CD
|
Following the skewed-unself-help-brilliance of Sus Dog (which marked his first full foray into songs, abetted by Thom Yorke), and its companion piece Cave Dog, Chris Clark returns to the dancefloor's simple, but no less affecting pleasures, with Steep Stims. Steep Stims marks a back-to-basics approach, invoking the early years of gung-ho creativity enforced by limitations in technology at the time. Made quickly, Steep Stims reflects the immediate rave energy of his live show, but that's not to say it's basic floor fodder, as it's rife with personality, synth magic, and knack for melody. Although swift and impressionistically captured rather than labored over, it's still formidably deft, with plenty of oddball weirdness lurking beneath the dancefloor. Soft, orange, scorched, brutal, the opening track "Gift and Wound" captures the classic dance music dread/awe/euphoria combo perfectly, before "Infinite Roller" merges sparkly-minimalism with snarling bass and soft sines, which turn more-dense and metallic as it progresses. The melancholic smoke belch of "No Pills U" gives strong classic vibrations, which is belied by its creation, made in just 20 minutes. Drumless, yet still full of exhilarating-big-trance-drama, "Who Booed The Goose" flashes by in stroboscopic fast forward, then "5 Millionth Cave Painting" gives a palate cleanser, letting "the virus with its delicious broken, luxurious reverb have a moment," before "Negation Loop" swoops down in all its glory, with Clark's tweaked vocals leading deconstructed trance breakdowns, tape edits and brutal noisebursts. An antidote to the bombast of its predecessor is "Micro Lyf," which closes the set on a poignant note, of sorts. Muted staccato gives way to field recordings "that gradually put it in this outside space; alien in a meadow somewhere nameless. It feels like a sinkhole. The record kinda swallows itself up and then is gone", ends Chris.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
THROT 009LP
|
Since his first composition credit in 2016 with The Last Panthers (Warp) Clark has built a reputation for expanding film and TV scores into intricate, exhilarating soundworlds of their own. Here Clark has expanded his score for Naqqash Khalid's award-winning debut feature In Camera stretching out the film's surreal "modern fairy tale" atmosphere with reversed vocals and gauzy synthpop-esque chords. Of the recording process Clark says: "Using my vocals but abstracted in a way that totally matched the film was the most unique challenge. I was going to just include the cues but got far too into recording new stuff that fitted the tone and emotion of the film. The record has a very distinct color/feel. It's drenched in muted joy/dark euphoria." This includes a gnarly cover of the Carpenters' "Superstar" that burns closer to the frazzled Sonic Youth version.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
THROT 009CLR-LP
|
Clear vinyl version. Since his first composition credit in 2016 with The Last Panthers (Warp) Clark has built a reputation for expanding film and TV scores into intricate, exhilarating soundworlds of their own. Here Clark has expanded his score for Naqqash Khalid's award-winning debut feature In Camera stretching out the film's surreal "modern fairy tale" atmosphere with reversed vocals and gauzy synthpop-esque chords. Of the recording process Clark says: "Using my vocals but abstracted in a way that totally matched the film was the most unique challenge. I was going to just include the cues but got far too into recording new stuff that fitted the tone and emotion of the film. The record has a very distinct color/feel. It's drenched in muted joy/dark euphoria." This includes a gnarly cover of the Carpenters' "Superstar" that burns closer to the frazzled Sonic Youth version.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
THROT 002CD
|
Originally released July 26, 2019. This album of plaintive beauty, eerie wyrd arcadian horror and childlike outsider music epitomizes Clark's constant ability to flip-the-script and coherently organize an abundance of new ideas. Mysterious and morbidly beautiful pieces driven by piano, harpsichord, cello and viola, electronics and voice, are interspersed with fabulously unusual and highly original curveballs. "I want people to listen to this in the same way they would read a set of Roald Dahl short stories; bitter-sweet tales with hooks and teeth and unexpected macabre twists. Proper Witch vibes." --Clark
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
THROT 002LP
|
LP version. Originally released July 26, 2019. This album of plaintive beauty, eerie wyrd arcadian horror and childlike outsider music epitomizes Clark's constant ability to flip-the-script and coherently organize an abundance of new ideas. Mysterious and morbidly beautiful pieces driven by piano, harpsichord, cello and viola, electronics and voice, are interspersed with fabulously unusual and highly original curveballs. "I want people to listen to this in the same way they would read a set of Roald Dahl short stories; bitter-sweet tales with hooks and teeth and unexpected macabre twists. Proper Witch vibes." --Clark
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
THROT 007LP
|
Double LP version. This is Chris Clark's tenth studio album, originally released in 2023. The electronic artist chose to marry his signature volatile, pin-sharp production to the introduction of his own emotive vocals. Challenging himself to fantasize what a record might sound like "if the Beach Boys took MDMA and made a rave record," Clark looked to Thom Yorke to assist in an executive production role, an ideal companion considering Yorke's most recent flights to the world of immersive electronica. There's also plenty of occasions where the compositions lean towards cinematic soundscapes particularly on the unnerving distortion of "Forest." However unlike on his Growl Garden EP where vocals were used in a more chilling and dystopian role, those on the likes of "Dolgoch Tape" are far more reverential and tender, closer to the spellbound serenity found on a Sufjan Stevens LP. Vocals funneled into textures rather than dominant leads. Highlighting the album's contrasts and bonds between human and machine The Guardian described it as "wandering free from structure, deploying sunbursts of synths and metallic percussion, nailing melodies into your primitive brain."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
THROT 007CD
|
This is Chris Clark's tenth studio album, originally released in 2023. The electronic artist chose to marry his signature volatile, pin-sharp production to the introduction of his own emotive vocals. Challenging himself to fantasize what a record might sound like "if the Beach Boys took MDMA and made a rave record," Clark looked to Thom Yorke to assist in an executive production role, an ideal companion considering Yorke's most recent flights to the world of immersive electronica. There's also plenty of occasions where the compositions lean towards cinematic soundscapes particularly on the unnerving distortion of "Forest." However unlike on his Growl Garden EP where vocals were used in a more chilling and dystopian role, those on the likes of "Dolgoch Tape" are far more reverential and tender, closer to the spellbound serenity found on a Sufjan Stevens LP. Vocals funneled into textures rather than dominant leads. Highlighting the album's contrasts and bonds between human and machine The Guardian described it as "wandering free from structure, deploying sunbursts of synths and metallic percussion, nailing melodies into your primitive brain."
|
|
|
|